Invisible In The Visible: Ernest Briggs, Seymour Boardman, Lawrence Calcagno, Friedel Dzubas, William Manning, Clement Meadmore, Lindsey Nobel, Michel Kanter, Pavel Kraus and Nancy Steinson.

The classical world, from Egyptian to Greeks and Romans, focused on conveying the bodies’ plasticity through harmonious beauty, their movement and way of art expanding into space. Post-medieval modern artists had emphasized the visible in painting, sculpture and even architecture.
In the twentieth century artists questioned both procedures: Duchamp with his critique of what he called “retinal art,” Picasso choosing “black art,” and rejecting the tradition of Western sculpture.
The abstract expressionists live with the tension of a nameless desire, a spirituality that can be illusionary or radically dynamic. To abstract something is to remove it from concrete experience, thus creating the “invisible in the visible.”
In this increasingly cyber and dot.com world Abstract Expressionism’s startlingly direct and personal ways of communicating with the viewer means more then moving paint around.
Abstract sculpture also concentrated on seeking the individual and spontaneous touch and expressing the inner-self, turning from realism to the metaphysical – therefore invisible. The sculptors of the Abstract Expressionist era and their followers went against the tradition of carefully constructed sculpture.